Live4ever’s Best Of 2019: The Music Videos

Posted on 31 Dec 2019 at 10:30am

Our 2019 retrospective series ends today with the countdown of Live4ever’s 20 favourite music videos featured on these pages during the past 12 months.

Our publisher and Primetime Emmy Award (Visual Effects) winning founder Paul Bachmann has been looking out especially for cinematography, visuals, production value, editing, concept and adaption.

2019 News Round Up, Part 2: Glastonbury, Billie Eilish, Stormzy, Coldplay and more

Posted on 30 Dec 2019 at 6:58am

During the course of 2019, Live4ever’s News Round-Up has each week been bringing seven days of top news stories to our readers – in the second part of our year retrospective, we look back at some of the biggest headlines in British music we featured between July and December…

2019 News Round Up, Part 1: Vampire Weekend, Woodstock, Fontaines D.C., Florence & The Machine and more

Posted on 27 Dec 2019 at 8:02am

During the course of 2019, Live4ever’s News Round-Up has each week been bringing seven days of top news stories to our readers – here we look back at some of the biggest headlines we featured between January and June…

Live4ever’s Best Of 2019: Working Men’s Club discuss our track of the year Teeth

Posted on 10 Dec 2019 at 6:58am

If you were to compare the singles Bad Blood and Teeth you would assume they came at different points in their band’s career.

But they are the early offerings which demonstrate how much Working Men’s Club have evolved over the course of 2019. Bad Blood was a promising debut, bouncing shimmering indie designed for the dancefloor, and was enough to get them a deal with Heavenly Records. Teeth is something else entirely.

Gloriously menacing, with an electronic hook that stands alongside the greats (i.e. impossible to forget), and guitars that sound like jet planes lost in a hurricane, it’s like nothing else this year, with a haunting, Godlike vocal from Sydney Minsky-Sargeant on the verse (which sounds like your conscience on a Sunday morning) which then becomes more despairing as the songs reaches its crescendo, vocals and guitars working in simpatico.

Live4ever’s Best Of 2019: The Tracks

Posted on 10 Dec 2019 at 6:58am

On our Best Albums list, 2019 brought us future classics from Fontaines D.C., Dave, The Murder Capital, FEET, slowthai and black midi to name just a few. Those and plenty more feature too on our favourite tracks of the year.

Picked out by editor David Smith from the hundreds which have featured on these pages during the past twelve months, Sinead O’Brien, Dry Cleaning, Black Country New Road, Kate Tempest and Working Men’s Club are just some who have added to a year which, whilst nostalgia has continued its grip on the mainstream, has quietly created a vintage all of its own.

Live4ever’s Best Of 2019: The Albums

Posted on 03 Dec 2019 at 7:16am

Live4ever Presents: An interview with The Clockworks

Posted on 26 Nov 2019 at 8:17am

Following your dreams is such an idealistic notion that it’s easy to be sneered at. It’s apparently unrealistic to expect your life to go the way you want it to, ‘that doesn’t happen’.

And yet time and time again, it does: footballers, entrepreneurs and social media stars have got where they are through belief and ambition. Musicians (despite some exceptions) are no different. Even so, to up sticks and relocate to a different country just to make your voice heard takes guts – around this time last year, a young four-piece from Galway decided to do just that.

The Irish music scene is in a healthy place right now: The Murder Capital and Just Mustard are playing to large venues in the UK, while Fontaines D.C. are the indie success story of the year. Yet these acts had an advantage, being in or around the Dublin area. The Clockworks had no such luck.

“We’re a funny one because I think if you asked the bands in Dublin, they do hang out, whereas we just don’t get to,” lead singer and lyric writer James tells Live4ever. “But that’s what made the decision to come here easier, because there was nothing tying us to Dublin.”

“There isn’t much of a scene in Galway, it’s all in Dublin,” notes drummer Damian. “If you’re not in the scene in Dublin, you’re not in the scene at all,” James agrees: “We just thought we’d come here and open ourselves up for some more opportunities.”

Live4ever Presents: Shambolics

Posted on 21 Nov 2019 at 7:12am
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Ten Years Of The Joy Formidable and A Balloon Called Moaning EP

Posted on 02 Nov 2019 at 7:17am

It may well be entirely cliched to say it, but a lot can happen in ten years.

Back in 2009, music media buzz and the UK gig circuit were awash with indie and alternative rock acts looking to follow in the hallowed footsteps of the scene’s luminaries – The Libertines, The Strokes, Kings Of Leon and a rapidly ascending Alex Turner and co.

There was a clearly visible path towards the upper reaches of the proverbial rock and roll tree, where putting in the miles on the road and garnering a loyal fanbase on the way could be the platform for big things to come.

Lead singer and guitarist Ritzy Bryan and bassist Rhydian Dafydd of The Joy Formidable were the creative duo as it all began, with drummer Matt joining amid the early recording sessions after previous drummer Justin Stahley had left, on what was to soon become their breakout EP.

Despite Ritzy and Rhydian hailing from the endearingly unchanging north Wales market town of Mold, A Balloon Called Moaning was somewhat bemusingly released exclusively in Japan in December 2008, before a full UK release with additional tracks the following month.

Some think they’re from nowhere, soon they could be everywhere: Interview & review with LIFE at Hyde Park Book Club, Leeds

Posted on 31 Oct 2019 at 8:12am

Changing jobs usually feels good.

For LIFE singer Mez Green and drummer Stu, this time it’s even more the case: over a pre-gig drink at the Hyde Park Book Club in Leeds this week, they tell us that they’ve both just left their old employers as part of the transition to focussing one-hundred-percent on the band.

This may seem odd, as many people outside of the creative arts see it ignorantly as some perma-grant funded haven for the workshy, but Stu is under no illusions: “We aren’t just playing a few songs in front of our mates now, this is our career,” he tells Live4ever. “It’s up to us to take the opportunity.”

For the quartet, it’s taken this sort of determination just to get here, setting up their own label in their home city of Hull and self-releasing a well received 2017 debut in Popular Music. Recorded over four weeks in London, its successor A Picture Of Good Health arrived last month to more widespread acclaim – vindication, the pair feel, for a bolder, more exploratory songwriting outlook.

“We didn’t just have a meeting and say ‘this is how we want it to sound’, we just made music,” says Stu. Both see the difference as being one of ambition rather than process: “We feel it’s expansive, and broad and exciting,” Mez explains. “People have embraced that and we’re very proud of this record.”

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